The storyline of Ramayya Vastavayya in a convoluted description is here for you. First, a veteran actor is deployed to create a semblance of seriousness. Next, we see NTR trying his best to be ultra-trendy and youthful. Soon, he swoons at the sight of Samantha or Shruti Hassan. Finally, danger after danger come visiting the girl in his life and our very fun-loving lover boy tries his gutsy best to save his heroine from each one. Without a change, one of the girls beseeches him to forget taking revenge. For a change, the hero showcases his 'unique' sense of separation of 'mind vs manasu' and unapolegetically declaims that he always follows the latter.
In telling an outdated and damn predictable story, Harish Shankar S committed one blunder after another. His only trump card was a romantic NTR, who is seen imitating Dev Anand here and Victory Venkatesh there. That is, when the situation doesn't warrant him breaking into a Gabbar Singh-kinda dance as his dost successfully steals Samantha's diary, or indulging in a panegyric on his own history of record-breaking (apparently, he broke all the extant records when he was wearing kickers and also holds the world record of massacring with designer swords, courtesy Rajmaouli, Vinayak and Boyapati).
The film begins in Coorg, Karnataka, where Mukesh Rishi's elder daughter is being betrothed to a joker. Rishi receives a threat call from two youngsters who warn him that he will be killed within 1 hour and, losing no time and using no brain, Rishi leaves for the IG's office. After a failed attack on him, we see his family praying for the one saviour. Cut to some place in undivided Andhra Pradesh, NTR is seen enacting his late thata's best known monologue. Predictably, a fight with an "original gadha" and a hero-oriented song follow. Follows Samantha, Illayaraja classics (why blaspheme classics in a way that they look like parodies?), a duet..
But no, the hero has more to him. His intelligence levels are so high that he knows the difference between the sweat born of tension and the tears born of pain, can sing an emotion-laden song with a sparkle on his face to a glam doll who maintains that I-am-being-pampered expression when she is supposed to display agony following her father's death. The whole idea looks weird.
Don't think that Ramayya Vastavayya is all about the hero effortlessly playing with the "original gadha" and the hockey stick while beating the baddies to pulp. Rao Ramesh as a CBI officer is stupid enough to shoot at the hero's vehicle's window pane, while the hero targets the bullet at the opponent's vehicle's tyre. Additionally, we have Nagineedu as NTR's kind-hearted grandpa. When he is not trying to smile like Mahatma Gandhi, the grandpa is seen displaying his Adityapuram patriotism. The whole family yearns to either visit the Promised Land of Adityapuram or have a kodalu from that land. Harish Shankar thought that deifying a village where Activist Ammulu Papa (Shruthi Hassan) lives a warrior's life will lend a new feel to a story that is liberally borrowed from Vinayak, Boyapati and God-knows-which-all-sacred-dudes.
We have a swashbuckling womanizer to add to our monumental woes. Ravi Shankar (unfortunately, this under-utilized actor is better known as Sai Kumar's brother) lusts India's most fashion-conscious activist and, thanks to Dil Raju's large-heartedness, visits Shruthi's house by travelling in a convoy. Everything about Ramayya.. is a bit over.
The worst aspect is the bloodshed, which, a Boyapati might want to say, is actually less! The climax is unnecessarily a bit of Prakash Jha.
NTR's energetic performance and vintage dance moves are a treat to watch. He is full of verve and with better comedy situations, he might have fared even better. For a revenge drama, the dialogue have life in the comedy scenes but not when the villains are around.
Samantha and Shruthi are seen in their most forgettable roles. Rohini Hattangadi as the shape-conscious bhama-cum-baby shines briefly. Rao Ramesh is OK. Ravi Shankar is menacing and looks atavistic enough to do the role.
Technically, Thaman's music passes muster. The cinematography is apt.
Verdict: A paper-thin storyline is the least of Ramayya's imperfections. Too much violence in the second half rips it of entertainment value.
The film begins in Coorg, Karnataka, where Mukesh Rishi's elder daughter is being betrothed to a joker. Rishi receives a threat call from two youngsters who warn him that he will be killed within 1 hour and, losing no time and using no brain, Rishi leaves for the IG's office. After a failed attack on him, we see his family praying for the one saviour. Cut to some place in undivided Andhra Pradesh, NTR is seen enacting his late thata's best known monologue. Predictably, a fight with an "original gadha" and a hero-oriented song follow. Follows Samantha, Illayaraja classics (why blaspheme classics in a way that they look like parodies?), a duet..
But no, the hero has more to him. His intelligence levels are so high that he knows the difference between the sweat born of tension and the tears born of pain, can sing an emotion-laden song with a sparkle on his face to a glam doll who maintains that I-am-being-pampered expression when she is supposed to display agony following her father's death. The whole idea looks weird.
Don't think that Ramayya Vastavayya is all about the hero effortlessly playing with the "original gadha" and the hockey stick while beating the baddies to pulp. Rao Ramesh as a CBI officer is stupid enough to shoot at the hero's vehicle's window pane, while the hero targets the bullet at the opponent's vehicle's tyre. Additionally, we have Nagineedu as NTR's kind-hearted grandpa. When he is not trying to smile like Mahatma Gandhi, the grandpa is seen displaying his Adityapuram patriotism. The whole family yearns to either visit the Promised Land of Adityapuram or have a kodalu from that land. Harish Shankar thought that deifying a village where Activist Ammulu Papa (Shruthi Hassan) lives a warrior's life will lend a new feel to a story that is liberally borrowed from Vinayak, Boyapati and God-knows-which-all-sacred-dudes.
We have a swashbuckling womanizer to add to our monumental woes. Ravi Shankar (unfortunately, this under-utilized actor is better known as Sai Kumar's brother) lusts India's most fashion-conscious activist and, thanks to Dil Raju's large-heartedness, visits Shruthi's house by travelling in a convoy. Everything about Ramayya.. is a bit over.
The worst aspect is the bloodshed, which, a Boyapati might want to say, is actually less! The climax is unnecessarily a bit of Prakash Jha.
NTR's energetic performance and vintage dance moves are a treat to watch. He is full of verve and with better comedy situations, he might have fared even better. For a revenge drama, the dialogue have life in the comedy scenes but not when the villains are around.
Samantha and Shruthi are seen in their most forgettable roles. Rohini Hattangadi as the shape-conscious bhama-cum-baby shines briefly. Rao Ramesh is OK. Ravi Shankar is menacing and looks atavistic enough to do the role.
Technically, Thaman's music passes muster. The cinematography is apt.
Verdict: A paper-thin storyline is the least of Ramayya's imperfections. Too much violence in the second half rips it of entertainment value.
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